Final Point of View (VJWC)

As a writer, I ponder point of view often, wondering which narrative voice is most effective. For this post’s purpose, first person narrative is called for, however; I tend to favour that option in much of my writing, and yet, I tire of it, as I’m sure readers must.

Much of my poetry stems from working with dream messages, so it lends itself naturally to first person point of view, however; among the many layers of dream meanings there is also social commentary and without shifting the point of view, that layer may be missed.

Consider, for instance, the first lines of this poem currently under construction:

I am stranger,
out of sync,appeared to be partnered,yet alone.

If I change the narrative from “I” to “we”, the message is altered:

We are strangers,
out of sync,
appear to be partnered
yet alone.

Love poetry is fraught with “I” and “you” and we all have read the never-ending stream of poems that ooze the blood of heartbreak. Am I the only one who becomes numb to them, wishing the author would change tracks, gain perspective, and move on? I have the same reaction reading my early poems – yes, life was difficult, yes, I was suffering, but it is the shift that excites, inspires and evokes enthusiasm. Getting out ourselves is key to finding a shifting point.

Okay, I’ve rambled enough.

This week, Proscenium brought our attention to two incredible murals, demonstrating how point of view alters what the audience sees.